The Development Section
 Bars 101-164
 Based entirely on the
opening figure from the
first subject.
That’s this bit, here!
Bars 101-105
1
2
3
 Follows a single G minor
chord
 Chromatic chord (G#B-D-F = Diminished
7th) leads to a woodwind
chordal and scalic
descent in to F# minor
(remote key) before the
violins enter with the
theme
F#
Min
Bars 103-114
 First 4 bars of the first
subject are played 4
times, in octaves, in the
first violins.
 Played as a descending
sequence.
 Chromatic harmony
(Example = Chromatic
chords in the Bassoons,
bars 107-114)
107
Bars 114-120
 Bars 114-115 = V-I in E
minor (modulated)
 Violas, cellos and Bassoons
have the theme. Violins
have a countermelody.
This is played staccato to
contrast with the legato
theme.
 Woodwind provides
chordal harmony.
 In Bar 118, we modulate to
A minor and the melody
and countermelody
switch over.
118
Bars 120-128
Bar 120
D minor
Bar 122
G minor
Bar 124
C major
Bar 126
F major
Bar 128
Bb major
oSee next slide for the score to show
the above.
oMusic rises by 4 notes every time we
modulate.
oConstant exploration of different
keys is a major feature of the
development section.
Hush there,
Goldendoodle! They are
trying to concentrate and
you are very cute and
distracting
Pay attention, we
have a bit more to
do....
120
122
124
126
128
Bars 134-138
 Repeated A in the bassoon, violas and cellos form a
dominant pedal (in D minor)
 The repeated A’s in the violins add to the effect.
Bars 139-164
 Texture is reduced, using the first 3
notes of the first subject as a motif.
 The motif is passed around the
woodwind and strings, creating a
dialogue effect.
 Various pedals are used in this
passage, first by bassoons, then the
horns, then the bassoons take over
again until the start of the
recapitulation.
F pedal
Dominant of Bb minor
G pedal
Dominant of C minor
D pedal
Dominant of G minor (tonic key)
Motif from First
subject
Dramatically reduced
texture
F pedal in
the bassoon
1
Bars 139-164
continued...
 Bars 153-160 = forte
passage.
 Powerful dialogue
between upper and
lower strings.
 Tension is provided by
the dominant pedal
(D) which only gets
resolved at the start of
the recapitulation.
2
3
And that is all for the
development section.
Only the recapitulation
and the coda to go. We
are over halfway there
folks!
That’s OK Mozart, I
quite like this
symphony and it’s
innovative display
of unusual
harmonic tension
for the time.
The Recapitulation
 Not just a direct repeat of the exposition – The bridge
is extended and the coda is far more developed than
would be expected.....
 Bars 164-184 are a direct repeat of bars 1-20 in the
exposition
Bars 184-227: The Bridge Passage.
 51 bars long this time, instead of 24!
 The function of the bridge section in the exposition is
to modulate key between the 1st and 2nd subject. This
is not necessary in the development as the 2nd subject
will be in the tonic key. So.... Mozart uses this
opportunity to further develop the thematic
material.
 The bridge is needed to provide structural balance to
the piece as a whole – A Classical ideal.
Bars 184-227: The Bridge Passage
cont...
 Bar 184-191: Theme begins as
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


expected but almost instantly
modulates to Eb major (Look for
Ab’s).
V-I cadence in 190-191
Bars 191-227: Tutti section. Strong
forte section heard in the
exposition.
Theme is split between upper and
lower strings in alternating
passages.
Unlike bar 28 in the exposition, we
now have a quaver bass
countermelody going against the
theme.
Bars 184-227: The Bridge Passage
cont...
 Bars 198-211: The parts swap over




(as we have seen happen before)
Music modulates through F minor
(bar 198), Eb minor (bar 205),
reaching the home key at bar 211.
Bars 211-227 = Bars 28-43 of the
exposition, except we remain in the
tonic key this time.
Bar 221-225: Dominant pedal (D)
in cellos, horn and bassoon
preparing for the second subject.
Bar 226: Bar of rest for dramatic
pause/anticipation.
Bars 227-260: The Second Subject.
 Starts on the tonic key.
 Theme is shared between the





strings and woodwind (like in
the exposition).
Reduced texture, dynamics.
Bars 241-245: Short passage
modulating to Eb major with a
dominant pedal in the cellos
and horns.
Bars 245-251: Rising one bar
sequences (look at the bass).
Bars 252-254: Perfect cadence
(Ic – V – I).
Bars 254-260 = Bars 66-72, but
now in G minor (Tonic).
The Coda: Bars 260-299
 Bar 260-276: 3-note
motif from the
exposition is passed
between the clarinet,
bassoon and flute, with
2 note motif
augmented in the
violas and cellos.
The Coda: Bars 276-299
 Scalic flourish building
towards the expected
final cadence.
 ff passage is interrupted
with p woodwind
chords, with glimpses of
the first subject in the
second violins. This is
then passed around the
first violins, cellos,
flutes, clarinets and
bassoons.
The Coda: Bars 293-299
 Final Tutti,
homophonic of
chords I and V.
 Finishes with 4
emphatic full stops
(G minor chords).
 Last 6-bars
corresponds with the
last 6-bars of the
exposition.
I
V
I V
IV IV I
I I
I
And that’s all Folks!
Now go and listen to the
whole thing, both with
the score and looking at
your notes. Then answer
the questions on page 33
I hope you
enjoyed my 40th
Symphony!
Keywords
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Chromatic
Chordal
Scalic
Remote Key
Descending sequence
Chromatic Harmony
Modulate
Staccato
Legato
Semitone
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Countermelody
Dominant Pedal
Texture
Motif
Sequence
Augmented
Homophonic
Tutti
Pathetique